Philip Glass

At 87 years old, Philip Glass physical status not available right now. We will update Philip Glass's height, weight, eye color, hair color, build, and measurements.

Philip Glass (born January 31, 1937) is an American composer and pianist.

He is widely regarded as one of the twentieth century's most influential composers.

Glass' work has been described as minimal music, with similar characteristics to other "minimalist" composers such as La Monte Young, Steve Reich, and Terry Riley.

Glass claims himself as a "music with repetitive structures" for which he has contributed to stylistically.

He has written numerous operas and musical theatre works, twelve symphonies, eleven concertos, eight string quartets, and various other chamber music, as well as film scores.

Three of his film scores have been nominated for Academy Awards.

Life and work

Philip Morris Glass was born in Baltimore, Maryland, on January 31, 1937, the son of Ida (née Gouline) and Benjamin Charles Glass. His family were Lithuanian-Jewish emigrants. His father owned a record store, and his mother, a librarian, worked as a librarian. Glass's book recalls that his mother aided Jewish Holocaust survivors at the end of World War II, encouraging new immigrants to America to remain at home until they could find a job and a place to live. 14 She designed a scheme to help them learn English and develop skills in order to find jobs. 15 Heppie's sister, Sheppie, will do similar work as an active member of the International Rescue Committee later this year.

: 15

Glass learned his love of music from his father, but later discovered that many musicians on his father's side were still on the family's side of the family. Cevia's uncle, Cevia, was a classical pianist, while others were in vaindeville. He learned that his family was also related to Al Jolson.

: 16

At his music store, Glass's father would often receive downloadable copies of new albums. Glass spent hours listening to them, enhancing his musical knowledge and taste. Glass was affected by this openness to new sounds from an early age:

Both new recordings and a large number of composers were sold to his clients, often persuading them to try something new by encouraging them to return songs they didn't like. 17 His store earned a reputation as Baltimore's top modern music store.

Glass's B Piano Trio and Hindemith's unsold records in his father's store featured modern classical music such as Hindemith, Bartók, Schoenberg, Shostakovich, Shostakovich, and Western classical music, including Beethoven's string quartets and Schubert's B' Piano Trio. Schubert's career is cited as a "large presence" in this world, according to Glass.

He studied the flute as a child at the Peabody Preparatory of the Peabody Institute of Music. He began an accelerated college program at the University of Chicago, where he studied mathematics and philosophy. He discovered Anton Webern's serialism in Chicago and created a 12-tone string trio. Glass went to Paris in 1954, where he saw Jean Cocteau's films, which left a lasting impression on him. Glass recalls, "the bohemian life you see in [Cocteau's] Orphée was the life I was drawn to, and those were the people I hanged out with."

Glass was educated at the Juilliard School of Music, where the keyboard was his primary instrument. Vincent Persichetti and William Bergsma were among his composition teachers. Steve Reich and Peter Schickele were among the fellow students. He was a winner in the BMI Student Composer Awards, an international award for young composers in 1959. In the summer of 1960, he studied with Darius Milhaud at the Aspen Music Festival summer school and composed a violin concerto for Dorothy Pixley-Rothschild, a fellow student. Glass left Juilliard in 1962 and spent time in Pittsburgh as a school-based composer-in-residence in the public school system, composing various choral, chamber, and orchestral works.

Glass was awarded a Fulbright Scholarship in 1964, and his studies in Paris with the renowned composition teacher Nadia Boulanger from fall of 1964 to summer of 1966 inspired his work throughout his life: "Bach and Mozart are the composers I remember most."

Glass later said in his autobiography Music by Philip Glass (1987) that the new music performed at Pierre Boulez's Domaine Musical concerts in Paris lacked any interest for him (with the notable exceptions of music by John Cage and Morton Feldman), but that new films and theatre performances had left him captivated him. "The generation wanted disciples, not necessarily reject," Boulez and Stockhausen's departure from modernist composers like Boulez and Stockhausen was nuanced rather than outright rejection: "That generation did not want disciples, and if we didn't join up meant we hated the music, which was misleading." We'd studied them at Juilliard and knew their music.

How on earth can you reject Berio?

Stockhausen's early works are still beautiful. However, there was just no point in trying to do their music better than they did, so we moved somewhere else." Glass made acquaintances with American visual artists (such as Jean-Luc Godard and François Truffaut), actors and directors (JoAnne Akalaitis, Ruth Malecech, David Warrilow, and Lee Breuer, who later founded the experimental theatre group Mabou Mines), and producers (JoAnne Akalaitis, Richard Serra and his wife Nancy Graves). Glass in turn attended performances by theatre companies including Jean-Louis Barrault's Odéon theatre, The Living Theatre, and the Berliner Ensemble from 1964 to 1965, collaborating with Akalaitis (they married in 1965). Glass contributed to a 1965 revival of Samuel Beckett's Comédie, which culminated in a joint venture with Breuer for which Glass performed. (Play, 1963). The resulting piece (written for two soprano saxophones) was directly inspired by the play's open-ended, repetitive, and almost musical structure and was the first piece in a sequence of four early pieces in a minimalist yet dissonant idiom. Glass played with Play in 1966 as the music director of a Breuer production of Mother Courage and Her Children, which also featured Paul Dessau's theatre score.

Glass performed in concert mode in 1965 and 1966 as a music producer and composer on a film score (Chappaqua, Conrad Rooks, 1966), which gave Glass another important influence on his musical philosophy. His distinctive style arose from Shankar and Rakha's participation in Indian music's sense of rhythm being entirely additive. He renounced all his compositions in a moderately modern style resembling Milhaud's and Samuel Barber's, and began writing pieces based on repeating Indian music and a sense of time influenced by Samuel Beckett's work, a piece for two actresses and chamber ensemble, and his first numbered string quartet (No. 1). (January 1, 1966)

Glass then left Paris for northern India in 1966, where he first came in contact with Tibetan refugees and started to gravitate towards Buddhism. Tenzin Gyatso, the 14th Dalai Lama, was born in 1972, and he has been a vocal promoter of Tibetan independence ever since.

Glass arrived in New York City in March 1967, leaving a lasting impression on him; he streamlined his style and converted to a more modern "consonant vocabulary." Glass, despite receiving no support from traditional performers and performance spaces, formed an ensemble with fellow student Jon Gibson, and others, and began performing mainly in SoHo's art galleries and studio lofts. Richard Serra, a photographer, provided Glass with Gallery contacts, while Glass and other artists collaborated on many sculptures, films, and installations; from 1971 to 1974, he was Serra's regular studio assistant.

Glass created nine works between 1967 and 1968, including Strung Out (for amplified solo violin, created in 1969), Gradus (for solo saxophone, 1968), and 1+1 (for amplified tabletop, 1968), "clearly intended to experiment more with his new-found minimalist philosophy," including one in May 1968. In September 1968, Glass's first concert of Glass's new music was held at Film-Makers Cinemathèque in Jonas Mekas (Anthology Film Archives). This performance featured the first work of this series with Strung Out (performed by violinist Pixley-Rothschild) and Music in the Form of a Square (performed by Glass and Gibson). The musical scores were tacked on the wall, and the players were forced to move when performing. The audience, mainly graphic and performance artists who were highly sympathetic to Glass's reductive approach, responded positively to Glass's latest works.

Glass, alongside his brother, the sculptor Jene Highstein, and himself worked as a plumber and cab driver from 1973 to 1978. He describes ordering a dishwasher and looking up from his work to see an astonished Robert Hughes, Time magazine's art critic, standing around him. During this period, Sol LeWitt, Nancy Graves, Michael Snow, Bruce Nauman, Laurie Anderson, and Chuck Close (who made a now-famous portrait of Glass) met with others in New York, such as Sol LeWitt, Nancy Graves, Michael Snow, Bruce Nauman, Laurie Anderson, and Chuck Close. (Glass received the award in 2005 with Chuck Close's Piano Portrait).

Glass took a more "rigorous minimalist approach" to his "most basic minimalist technology, additive process" in his creations this year, with his composition instructor Nadia Boulanger pointing out "hidden fifths" in his projects but dismissing them as "cardinal sins) in his works in January. Glass's music became less austere, becoming more complex and dramatic with pieces such as Music in Similar Motion (1969) and Music with Changing Parts (1970). These works were performed by the Philip Glass Ensemble in 1969 and 1970 in the Solomon R. Guggenheim Museum, often getting a hostile reception from critics, but Glass's music was also met with enthusiasm by younger artists such as Brian Eno and David Bowie (at the Royal College of Art ca. 1969). 1970 (broadcasting). Eno said this experience with Glass' music as a "most memorable musical experience of [his] life" as a "viscous bath of pure, thick energy," concluding, "this was actually the most intricate music I'd ever heard." It was all about intricacy, exotic harmony. Glass, a 1970s-born British actor, returned to the theater, composing music for the theatre company Mabou Mines, resulting in his first minimalist pieces based on voices: Red Horse Animation and Music for Voices (both 1970, and premiered at the Paula Cooper Gallery).

Glass formed the Philip Glass Ensemble (while Reich built Steve Reich and Musicians), an extended ensemble featuring keyboards, wind instruments (saxophones, flutes), and soprano voices following differences of opinion with Steve Reich in 1971.

Glass's music for his ensemble culminated in the four-hour Music in Twelve Parts (1971–1974), which began as a single work with twelve musical parts but expanded to a cycle that summed up Glass's musical career since 1967 and even exceeded it—the final part of the cycle includes a twelve-tone theme, sung by the ensemble's soprano voice. "I had broken the rules of modernism, so I thought it was time to break some of my own laws," Glass said. Glass accepts this term for works up to and including Music in 12 Parts, excepting this last part, which "was the end of minimalism" for Glass, although he uses the term minimalist to denote his later work. "I had been designing for eight to nine years, and now I'd gone through it and come out the other end," the author said. He now prefers to be known as a "music with repeating patterns."

Glass continued his experiment with a series of musical works titled Another Look at Harmony (1975–1977). "What I was looking for was a way of combining harmonic progression with the rhythmic structure I had been building to create a new overall structure," Glass's title says. ... I'd already figured out with my early work, and now was the time to decide what I wanted to do, a process that will take several years to come." Parts 1 and 2 of "Another Look at Harmony" were included in a performance with Robert Wilson, which became Glass' first opera of his portrait opera trilogy: Einstein on the Beach. Glass' first opera was premiered in summer 1976 at the Festival d'Avignon, and the audience at the Metropolitan Opera in New York City was mixed and partly enthusiastic. Glass's and Wilson's technically plotless opera, with solo violin, chorus, and actor Samuel M. Johnson, was scored as a "metaphorical glimpse at Albert Einstein": scientist, feminist, amateur musician, and "ethical man whose beliefs, which eventually led to the break of the atom," critic Tim Page pointed out. "Einstein created a new structural harmony that set it apart from the early conceptual works in Another Look at Harmony." Tom Johnson came to the same conclusion, comparing solo violin music to Johann Sebastian Bach and the "organ figures... to those Alberti basses Mozart adored so much." The piece was praised by The Washington Post as "one of the century's seminal works of art."

Einstein on the Beach was followed by further music for Mabou Mines' productions, including Dressed like an Egg (1975), and then music for plays and adaptations of prose by Samuel Beckett's (1975), Mercier and Camier (1979). Glass also moved to other mediums; two multi-movement instrumental works for the Philip Glass Ensemble appeared as music for film and television: North Star (1977) and four short cues for the children's television series Geometry of Circles (1979) appeared on television and television; two multi-movement instrumental works were also used for film and television: Mark di Suvero by François de Menil and Barbara Rose.

Constance DeJong's book Modern Love ("Part One") (1977–79), organ and piano ("Part One," 1977), organ and piano ("Part One"), and keyboard ("Part Two") were among the songs included in a fourth collection (1977–79). In two dance performances by choreographer Lucinda Childs (who had already contributed to and performed in Einstein on the Beach), "Part Two" and "Part Four" were used (and hence renamed). In Dance (a collaboration with visual artist Sol LeWitt, 1979), "Part Two" was included, and "Part Four" was renamed as Mad Rush and performed by Glass on several occasions, including the first public appearance of the 14th Dalai Lama in New York City in Fall 1981. Glass's return to more traditional models is shown in this article: "As the pianist Steffen Schleiermacher says, the composer's departure from radical non-narrative, undramatic approaches of his early period" can be seen as a clue that he [had] abandoned the original non-narrative, narrative, and dramatic approaches of his early period."

Glass received a commission from the Netherlands Opera (as well as a Rockefeller Foundation grant) in Spring 1978, which "marks the end of his ability to earn money from non-musical work." Glass continued his involvement in music theater, composing his opera Satyagraha, based on Mahatma Gandhi's early life, Leo Tolstoy, Rabindranath Tagore, and Martin Luther King Jr.'s granddaughter In Satyagraha, glass worked closely with two "SoHo friends": Constance deJong, the libretto, and set designer Robert Israel. Also if the most prominent parts of Glass's career were still reserved for solo voices and chorus, this work was a turning point for him as it was his first piece for the symphony orchestra since 1963. Glass helped plan another opera for performances in Germany shortly after completing the score in August 1979 (using a piano-four-hands version of the score); together they began to plan another opera to be premiered at the Stuttgart State Opera.

Glass turned to smaller music theatre projects, including the non-narrative Madrigal Opera (for six voices and violin and viola, 1980), and The Photographer, a biographical research on photographer Eadweard Muybridge (1982). Glass continued to compose for the orchestra with the score of Koyaanisqatsi (Godfrey Reggio, 1981-1982). Some pieces that weren't used in the film (such as Façades) eventually appeared on the album Glassworks (1982, CBS Records), which brought Glass's music to a wider audience.

Akhnaten (1982–1983, premiered in 1984), a vocal and orchestral composition sung in Akkadian, Biblical Hebrew, and Ancient Egyptian, "Portrait Trilogy" was completed. In addition, this opera featured an actor reciting ancient Egyptian texts in the audience's language. In a work created by Achim Freyer, Akhnaten was hired by the Stuttgart Opera. In a performance directed by David Freeman and conceived by Peter Sellars, it premiered simultaneously at the Houston Opera House. The Stuttgart Opera House was under construction at the time of the commission, necessitating the use of a nearby playhouse with a smaller orchestra pit. Glass and conductor Dennis Russell Davies and conductor Dennis Russell Davies visited the playhouse, setting music stands around the pit to see how many people the pit could hold. The two musicians discovered they couldn't fit a complete orchestra in the pit. Glass decided against the violins, which had the effect of "giving the orchestra a low, muffle sound that helped to characterize the piece and made it suited the subject well." Akhnaten is "the first extension out of a triadic harmonic language," Glass's observation of his teachers Persichetti and Milhaud's polytonality, a musical technique that Glass compares to "an optical illusion" in Josef Albers' paintings.

Glass performed with Robert Wilson on another opera, the CIVIL warS (1983, first performed in 1984), which later served as the final part ("the Rome section) of Wilson's epic opus "the Olympic Games in Los Angeles." (Glass also created a prestigious work for chorus and orchestra for the opening of the Games.. The Olympian: Lighting of the Torch and Closing ) The premiere of The CIVIL wars in Los Angeles never happened, and the opera at the Opera of Rome was in the end. Glass's and Wilson's opera includes musical adaptations of Latin texts by the 1st-century playwright Seneca, as well as allusions to Giuseppe Verdi's music, as well as American Civil War characters Giuseppe Garibaldi and Robert E. Lee.

Glass created "works in a brisk fashion" in the mid-1980s. Dance from that period include music for dance (Glass Pieces choreographed for New York City Ballet by Jerome Robbins in 1983), a score from existing Glass compositions, including an excerpt from Akhnaten; and In the Upper Room, Twyla Tharp, 1986). Beckett vehemently opposed Endgame's production at the American Repertory Theater (Cambridge, Massachusetts), which featured JoAnne Akalaitis' direction and Glass's Prelude for timpani and double bass, but in the end, he approved the performance for Company, four short, personal pieces for string quartets performed in the intervals of the dramatization. The composer's intention was to be used in a piece of Gebrauchsmusik ('music for use'), but "like salt and pepper... just something for the table," the composer said. Eventually, the company was known as Glass' String Quartet No. No. 1. 2 and a version for string orchestra, both in a range of orchestras to more well-known ensembles such as the Kronos Quartet and the Kremerata Baltica.

This passion for writing for the string quartet and the string orchestra culminated in a chamber and orchestral film score for Mishima: A Life in Four Chapters (Paul Schrader, 1984–85), which Glass recently characterized as his "technique of film scoring in a special way."

Glass also dedicated himself to vocal recordings, Three Songs for Chore (1984, interpretations of poems by Leonard Cohen, Octavio Paz, and Raymond Lévesque), and a song cycle launched by CBS Masterworks Records (1985) with texts by songwriters such as David Byrne, Mishima) in which the Kronos Quartet appears (as it appears in Mishima) in a central role. Glass continued his opera series with excerpts from literary books, including "The Fall of the House of Usher (1984), Edgar Allan Poe's The Fall of the Representative for Planet 8 (1985-1991), and The Fall of the Republic of the House of Representatives (1989) (which was performed by the Houston Grand Opera and English National Opera in 1988).

Company, Facades, String Quartet, and String Quartet No. In this returning to his student days's structural roots, 3 (the last two works extraits from the scores to Koyaanisqatsi and Mishima) gave way to a series of works that were more accessible to ensembles, such as the string quartet and symphony orchestra. His chamber and orchestral writings were also published in a more modern and lyrical style in this direction. Glass often employs old musical styles such as the chaconne and the passecasglia in these performances, as in Satyagraha, the Violin Concerto No. 1. Symphony No. 1 (1987), no. 1 (1987). 3 (1995), Echorus (1995), as well as recent works such as Symphony No. 2 (1997). 5-8 (2005), and Solo Cello's Songs and Poems (2006).

With the 3-movement Violin Concerto No. 1, a string of orchestral works originally created for the concert hall began. 1 (1987): The American Composers Orchestra commissioned this work, which was written for and in close collaboration with violinist Paul Zukofsky and conductor Dennis Russel Davies, who has since been commissioned to write numerous orchestral works. The concerto is dedicated to Glass's father, "His favourite instrument was the violin concerto," and I grew up listening to the Mendelsohn, the Paganini, at the Brahms concertos. ... So when I decided to write a violin concerto, I wanted to write one that my father would have enjoyed." The Concerto was performed and recorded by Gidon Kremer and the Vienna Philharmonic in 1992, one of its many recordings. The light (1988), and Itaipu (1989) continued this series of orchestral music with the creation of a symphonic trilogy of "portraits of nature" commissioned by the Cleveland Orchestra, the Rotterdam Philharmonic Orchestra, and the Atlanta Symphony Orchestra.

Glass composed music for piano, as well as for the Errol Morris film The Thin Blue Line, 1988, while recording for symphonic ensembles. Glass happened to meet poet Allen Ginsberg in the East Village of New York City last year, and the pair immediately "decided to do something together," reaching for one of Allen's books and selecting Wichita Vortex Sutra, a piece for reciter and piano that has since developed into a music theatre work for singers and ensemble, Hydrogen Jukebox (1990).

Glass also returned to chamber music, composing two String Quartets (No. 1). In 1989, 4 Buczak was No. 1, and there is no. 5 in 1991), and chamber works that began as incidental music for plays, such as Music from "The Screens" (1989-1990). This work was part of many theater music collaborations with director JoAnne Akalaitis, who had originally ordered Foday Musa Suso [for Jean Genet's "The Screens] in collaboration with a western composer [to do the score] in collaboration with a western composer. Glass had already collaborated with Suso on the film score to Powaqatsi (1988). "The Screens" is a touring piece for Glass and Suso, on occasion a touring piece for Glass and Suso, but individual pieces have made their way into Glass and Suso's repertoire, as well as percussionist Yousif Sheronick. Ravi Shankar, a founder of the band Tangerine Dream, initiated another collaboration that culminated in the album Passages (1990).

Glass's opera commissions based on the lives of explorers were also included in the late 1980s and 1990s.

The Voyage (1992), with a libretto by David Henry Hwang, was commissioned by the Metropolitan Opera for the 500th anniversary of Columbus' discovery of America; and White Raven (1991), a collaboration with Robert Wilson and composed for the closing of the 1998 World Fair in Lisbon. The composer's "newly arching lyricism," "Sibelian starkness and sweep," and a "dark, brooding tone... a representation of its increasingly chromatic (and dissonant) palette, particularly in The Voyage.

Glass remixed the S'Express song "Hey Music Lover" for the b-side of the 1989 release as a single.

Glass began composing on a symphonic cycle after these operas, commissioned by conductor Dennis Russell Davies, who told Glass at the time: "I'm not going to let you... be one of those opera composers who never write a single word." Glass conducted two 3-movement symphonies ("Low" [1992], as well as Symphony No. 1. [1994]] - his first in a continuing series of symphonies is a blend of the composer's own musical works with themes from his album Low (1977), whereas Symphony No. 78 represents the composer's first attempt at a live performance. Glass calls the two experiments a study in polytonality. Honegger, Milhaud, and Villa-Lobos' music served as potential models for his symphony, according to him. Symphony No. 2 with the Concerto Grosso (1992) No. 1 in the world Symphony No. 1 (1992). 3 (1995) a Concerto for Saxophone Quartet and Orchestra (1995), a work by conductor Dennis Russel Davies) and Echorus (1994/95), a more transparent, refined, and personal chamber-orchestral style paralleled his Rascher Quartet's excursions, 1995-1995), a book by his large-scale symphonic pieces. Glass's third Symphony's four movements treat a 19-piece string orchestra as an extended chamber orchestra. Glass re-uses the chaconne as a formal instrument in the third movement; one commentator characterized Glass's symphony as one of the composer's "most tautly united works." The third Symphony was closely followed by a fourth, subtitled Heroes (1996), who commissioned the American Composers Orchestra. Its six movements are symphonic reworkings of Glass, David Bowie, and Brian Eno's album "Heroes," 1977; in other works by the composer, it's also a hybrid work and appears in two versions: one for the concert hall and the other for dance choreographed by Twyla Tharp.

Dennis Russell Davies' second series for piano, the Etudes for Piano, was dedicated to Davies as well as production designer Achim Freyer; the complete first set of ten Etudes was performed and performed by Glass himself. Both Bruce Brubaker and Dennis Russell Davies have recorded the original set of six. The bulk of the Etudes are produced in the post-minimalist and increasingly lyrical style of the times: "Glass explores potential sonorities ranging from traditional Baroque passagework to Romantically tinged moods." Some of the pieces appeared in various renditions, from Robert Wilson's Persephone (1994, which was also performed by the Relache Ensemble) or Echorus (a recreation of Etude No. 1). (written for Edna Mitchell and Yehudi Menuhin 1995) written two violins and string orchestras for two violins and string orchestras.

Glass' prolific output in the 1990s extended to operas with an opera triptych (1991–1996), which the composer described as a "homage" to writer and film director Jean Cocteau (1929), and the film Les Enfants tragiques (1949), which was later turned into a film directed by Cocteau and Jean-Pierre Melville (1950). The triptych is also a musical tribute to the work of the group of French composers associated with Cocteau, Les Six (and especially to Glass's instructor Darius Milhaud), as well as other 18th-century composers such as Gluck and Bach whose music was included as an integral piece of Cocteau's films.

Orphée (composed in 1991 and premiered at the American Repertory Theatre) can be traced both stylistically and musically to Gluck's opera Orfeo et Euridice (Orphée et Euridice, 1762/1774), which was a pivotal figure in Cocteau's 1949 film Orphee. According to K. Robert Schwartz, one of the opera's themes, Eurydice's death, has a similarity to the composer's personal life: "One can only imagine that Orpheus' death must have resembled the composer's." "Glass has a real affinity for the French text and sets the terms in a subtle manner," the opera's "transparency of texture, a subtlety of instrumental tone,... a new and unfettered vocal writing" was lauded by The Guardian's critic, who ostensibly underpinned them with delicately patterned instrumental textures."

Glass performed "a new completely operatic score and synchronize[d] it with the opera for Cocteau's second opera, La Belle et la Bête (1994, scored for either the Philip Glass Ensemble or a more traditional chamber orchestra) on Cocteau's second opera. With the "Dance Opera" Les Enfants Terribles (1996), the final piece of the triptychychychychychychychnys returned to a more familiar location, with vocals, three pianos, and dancers with choreography by Susan Marshall. Both singers and dancers are portrayed as these characters. The opera's orchestra recalls Bach's Concerto for Four Harpsichords, but also "the snow," which falls progressively throughout the opera, bringing an audience closer to the actual proceedings. Time has stood still. "There is only music and the movement of children through space," (Glass).

Glass's lyrical and romantic styles flourished with a number of projects in the late 1990s, including operas, theatre, and film scores (Martin Scorsese's Kundun, 1997, Godfrey Reggio's Naqoyqatsi, 2002), a collection of five concerts, and three symphonies focusing on orchestra-chorus interplay in the late 1990s and early 2000s. Symphony No. 2 symphonies, Symphony No. 2. 5 "Choral" (1999) and Symphony No. No. No.1 (1997) The song cycle Songs of Milarepa (1997) has a meditative theme, with 7 "Toltec" (2004) and the song cycle Songs of Milarepa (1997). No. 8 in the operatic Symphony No. 119. In honor of Glass's sixty-fifth birthday, the Brucknerhaus, Linz, and Carnegie Hall sponsored the soprano and orchestra, building on Glass's collaboration with Allen Ginsberg (poet, piano—Ginsberg, Glass), based on his poem of the same name.

Glass continued writing for the concert hall with adaptions from literary texts: The Marriages of Zones 3, 4 and 5 ([1997] story-libretto by Doris Lessing), Franz Kafka's book about him (2000), and The Sound of a Voice (2003, with David Henry Hwang), which includes the Pipa, was performed by Wu Man at its premiere. Glass also collaborated with Robert Wilson, co-author of Einstein on the Beach, on Monsters of Grace (1998), and produced a biographical opera on the life of astronomer Galileo Galilei (2001).

Glass began a series of five concerti with the Tirol Concerto for Piano and Orchestra (2000, premiered by Dennis Russell Davies as conductor and soloist), as well as the Concerto Fantasy for Two Timpanists and Orchestra (2000, for timpanist Jonathan Haas). Cellist Julian Lloyd Webber appeared in the concerto for Cello and Orchestra (2001), which was performed in Beijing for the first time in commemoration of his fiftieth birthday. The neo-baroque Concerto for Harpsichord and Orchestra (2002), exhibiting in its transparent, chamber orchestral textures, was followed by Glass's classical technique, which was evocative in the "improvisatory chords" of the 18th century's music. Piano Concerto No. 2: Two years ago, the concerti series continued. 2: Lewis and Clark, a.k.a. Lewis and Clark (2004), a piano essay by Paul Barnes. The concerto honors the pioneers' tour of North America, while the second movement features a duet for piano and Native American flutes. Glass's Piano Concerto No. 1 is the chamber opera The Sound of a Voice. Both pieces can be considered as bridging his traditional compositions and his more popular tours to World Music, which were also found in Orion (which were also created in 2004).

The Barbarians, an opera by J. M. Coetzeee (with libretto by Christopher Hampton), had its premiere in September 2005. Glass characterized the work as a "social-political opera," a "dialogue on the Bush administration's Iraq war, a "national chronicle" and an example of the "power of art to shift our attention toward the human dimension of history." Although the opera's themes are Imperialism, apartheid, and torture, the composer took an understated route by using "very simple methods," according to conductor D. Russell Davies.

Glass' Symphony No. 2 was two months after the premiere of this opera in November 2005. The Bruckner Orchestra Linz's 8 was the first performance at the Brooklyn Academy of Music in New York City. This piece was a return to pure orchestral and abstract composition after three symphonies for voices and orchestra, as well as Dennis Russell Davies' previous works (the 1992 Concerto Grosso and the 1995 Symphony No. 1). It includes extended solo writing (which is the 3rd edition). Allan Kozinn characterized the symphony's chromaticism as more complex, flexible, and with continually shifting patterns and textures, pointing to the symphony's "unpredictable orchestration" in the melancholy second movement. "Against all odds, this work succeeds in adding something new to the classical symphony's overstuffed annals. ... The musical content is stripped from familiar fabric, but it's surprising that the composer postpones the ephetical end and instead delves into a mood of advancing twilight and unending night."

Ramakrishna's Passion, (2006) was commissioned by the Pacific Symphony Orchestra, the Pacific Chorale, and conductor Carl St. Clair. As one commentator said, the composer's style is ideally suited to the devotional text, the 45 minutes choral work is based on Ramakrishna's writings, which appear to have "fully inspired and revived the composer from his old formulas to write something fresh."

Criticals also lauded a cello suite, created for the cellist Wendy Sutter, Songs and Poems for Solo Cello (2005–2007). It was described by Lisa Hirsch as "a significant contribution to the cello repertory" and "deeply Romantic in spirit" while also "deeply Baroque." Anne Midgette of the Washington Post described the suite as "unique in terms of directness and warmth," she wrote; "in the midst of Bach's major work, it takes flight in a handful of notes, now subtle, now ardent, repeatedly eliciting the minor-mode thirst for klezmer music and Bach's interior reflections." "In many ways, it owes more to Schubert than to Bach," Glass says.

Glass collaborated with Leonard Cohen on an extension of Cohen's poetry collection Book of Longing in 2007. The piece, which premiered in June 2007 in Toronto, is a piece for seven instruments and a vocal quartet, and it includes recorded spoken word performances by Cohen and images from his collection.

The San Francisco Opera premiered Appomattox, an opera set around the American Civil War's closing, on October 5, 2007. Glass collaborated with author Christopher Hampton in Waiting for the Barbarians, as well as the preceding opera and Symphony No. The piece was led by Glass' long-time collaborator Dennis Russell Davies, who wrote, "In his latest operas, the bass line has gained increasing prominence," he said. ... He's certainly developed his skills as an orchestrator, as well as his ability to create melodies and harmonic patterns for specific instrumental groups. "What he gives them to play is very organic and idiomatic."

Glass also contributed to his collection of theatre music in 2007, and after a gap of twenty years, to write music for Samuel Beckett's dramatic works. He scored Act Without Words II, Act Without Words II, Rough for Theatre I and Eh Joe, directed by JoAnne Akalaitis, and premiered in December 2007. The New York Times characterized Glass's contribution to this series as "icy, repetitive music that comes nearest to piercing the heart."

Glass, 2008 to 2010 continued to work on a series of chamber music works, beginning with Songs and Poems, Dennis Davies and Maki Namekawa's premiere in July 2008), a Sonata for Violin and Piano composed in "the Brahms style" (completed in 2008; a String sextet, a string sextet, a tribute to the Symphony No. 58 (an extension of the Symphony No. 2). In 2009, three of Glass's musical director Michael Riesman's (1995) were released, followed by three others. Pendulum (2010, a one-movement piece for violin and piano), Wendy Sutter's second Suite of cello pieces, and Partita for solo violin for violinist Tim Fain (2010, first performance of the complete work 2011) are new entries in the series.

A score for Euripides' The Bacchae (2009, directed by JoAnne Akalaitis) and Kepler (2008), yet another operatic biography of a scientist or explorer. The opera is based on Johannes Kepler's life, set against the backdrop of the Thirty Years' War, with a libretto compiled from Kepler's books and poems by his contemporary Andreas Gryphius. It is Glass's first opera in German, and it was premiered by Bruckner Orchestra Linz and Dennis Russell Davies in September 2009. Mark Swed and others characterized the work as "oratorio-like"; Swed pointed out that Glass' "most chromatic, complicated, psychological score" and "the orchestra dominates"; "the orchestra rules" prevails... The muted, glowing colors, the look of many orchestral solos, and the harrowing emphasis on bass instruments all struck me.

Glass returned to the concerto style in 2009 and 2010. Concerto No. 6 Violin Concerto No. 0 is a film by Violin Concerto No. 1. Two of Vivaldi's four movements were commissioned by violinist Robert McDuffie and named "The American Four Seasons" (2009) as an homage to Vivaldi's set of concertos "Le quattro stagioni." The Toronto Symphony Orchestra premiered in December 2009 and was then performed by the London Philharmonic Orchestra in April 2010. Maria Bachmann and Wendy Sutter's soloists performed the Double Concerto for Violin and Cello and Orchestra (2010), as well as a ballet score for the Nederlands Dans Theatre. Other orchestral projects of 2010 include short orchestral scores for films, to a multimedia presentation based on Brian Greene's book Icarus at the Edge of Time, which premiered on June 6, 2010, and Nosso Lar's score (which was released in Brazil on September 3, 2010). Glass also contributed a short film, Brazil, to the film Chime, which was released on February 3, 2010.

Glass appeared at the MONA FOMA festival in Hobart, Tasmania, in January 2011. Experimental sound, noise, dance, theatre, performance, and new media are all represented in the festival's diverse range of art forms, including experimental sound, music, dance, drama, live art, and emerging media.

As part of the Days and Nights Festival in August 2011, Glass presented a series of music, dance, and theater performances. Besides the Philip Glass Ensemble, scheduled performers include Molissa Fenley and Dancers, John Moran with Saori Tsukada, as well as a preview of Dracula with Glass' score. Glass hopes to present this festival every year, with a focus on art, science, and conservation.

Symphony No. 2 is among the other works completed since 2010. Symphony No. 9 (2010–2011), no. 9 (2010–2011). Cello Concerto No. 10 (2012) - No. 10 (2012). Naqoyqatsi) as well as String Quartet No. 2 (2012, based on the film score). No. 6 and No. 2 are among the 69 items ranked in the United States. 7. The Bruckner Orchestra Linz, the American Composers Orchestra, and the Los Angeles Philharmonic Orchestra all sponsored Glass's Ninth Symphony. The first appearance of the symphony took place in Linz, Austria, on January 1, 2012 (Glass's 75th birthday) at the Brucknerhaus; Dennis Russell Davies conducted the American Composers Orchestra); and the Los Angeles Philharmonic's West Coast premiere took place on April 5, 2012, under the baton of John Adams. The Orchestre français des jeunes commissioned Glass' Tenth Symphony, which was written in five movements, in honor of its 30th anniversary. Avec Dennis Russell Davies, the symphony's first performance took place on August 9, 2012 at the Grand Théâtre de Provence in Aix-en-Provence.

The Opera The Perfect American was created in 2011 for Teatro Real Madrid on commission from Teatro Real Madrid. The libretto is based on a book by Peter Stephan Jungk and covers Walt Disney's remaining months of life. On January 22, 2013, the world premiere was held at Teatro Real in Madrid, with British baritone Christopher Purves playing Disney. The UK premiere took place on June 1, 2013 in a performance by the English National Opera at the London Coliseum. In a Long Beach Opera's production, the US premiere took place on March 12, 2017.

The Lost, based on a play by Austrian playwright and novelist Peter Handke's Die Spuren der Verirrten (2007) premiered at the Musiktheater Linz in April 2013, directed by David Pountney, was produced at the Musiktheater Linz by Dennis Russell Davies and directed by David Pountney.

On June 28, 2013, Glass' piano work Two Movements for Four Pianos premiered at the Museum Kunstpalast, a project of Katia and Marielle Labèque, Maki Namekawa, and Dennis Russell Davies.

Glass' collaboration with Angélique Kidjo Ifé: Three Yorûbá Songs for Orchestra premiered at the Philharmonie Luxembourg on January 17, 2014.

Katia and Marielle Labèque, Gustavo Dudamel, and the Los Angeles Philharmonic premiered Glass' Double Concerto for Two Pianos in May 2015.

In 2015, Glass published his memoir Words Without Music, his first book.

Dennis Russell Davies, conducting the Bruckner Orchestra Linz, the Istanbul International Music Festival, and the Queensland Symphony Orchestra, premiered on January 31, 2017, Glass's 11th symphony premiered on January 31, 2017. On September 22, 2017, his Piano Concerto No. 1 became the first to perform in the world's longest piano concerto No. 11. Simone Dinnerstein with the strings of the chamber orchestra A Far Cry at the New England Conservatory of Music, Boston, Massachusetts, premiered 3 people.

The Los Angeles Philharmonic under John Adams premiered Glass's 12th symphony at the Walt Disney Concert Hall on January 10, 2019. The project, which was commissioned by the orchestra, completes Glass's trilogy of symphonies based on Bowie's Berlin Trilogy of albums.

Phelim McDermott, a stage auteur, performer, and co-director, created the score for the latest work Tao of Glass, which premiered at the 2019 Manchester International Festival before heading to the 2020 Perth Festival.

Personal life, associates, and collaborators

Glass has referred to himself as a "Jewist-Toltec-Buddhist" and a promoter of the Tibetan independence movement. He co-founded the Tibet House of Commons with Columbia University professor Robert Thurman and actor Richard Gere at the behest of the 14th Dalai Lama in 1987. Glass is a vegetarian.

Glass has four children and one granddaughter. Juliet (b. ) is a student at the University of On the 26th of May, the two young people were "affectionate" to begin. (b. 1968) and Zachary (b. His children, from his first marriage to theater director JoAnne Akalaitis (married 1965, divorced 1980), are his descendants. Luba Burtyk was his second marriage; the two were later divorced. Candy Jernigan, his third wife, died of liver cancer at the age of 39. Cameron (b.) was his two sons. Marlowe (b. 2002) and Maylowe (b. (2003) with his fourth wife, restauranteur Holly Critchlow (married in 2001), who later divorced Glass. Glass lives in New York and Nova Scotia's Cape Breton. Wendy Sutter, a cellist, was intimately involved with him for about five years. Saori Tsukada, a Japanese-born dancer, was his partner as of December 2018.

Glass is the first cousin ever taken from Ira Glass, host of the radio show This American Life. Onstage at Chicago's Field Museum, Ira conducted Glass; this interview was broadcast on NPR's Fresh Air. Ira spoke with Glass for the second time at a fundraiser for St. Ann's Warehouse; this interview was given away as a pledge-driven thank-you gift in 2010. Glass produced a version of the composition "Wichita Vortex Sutra" by Ira and Glass. This American Life broadcast a live performance at the Brooklyn Academy of Music in 2014, which included the world premiere of the opera Help, a short monodrama written for the occasion by Philip Glass.

Franz Schubert, with whom he shares a birthday, is his favorite composer, according to Glass. Glass was on the front page of issue No. 102 in June 2012. The Fader is a newspaper published in the United States.

Sylvère Lotringer conducted a 14-page interview with Glass in Columbia University's philosophy department's publication called Semiotext(e) titled Schizo-Culture: The Book in 1978.

Glass's collaborators include visual artists (Richard Serra, Chuck Close, Fredericka Foster), writers (Doris Lessing, Jerome Robbins, Bernard Rose, and many others), stage and film designers (Lucinda Childs, Robert Wilson, David Burke, Deborah Foster, Richard Wilson, Martha Henderson, Keith Simpson, Robert Wilson, Rebecca Watson, Timothy Johnson, and others), musicians (Richard Cohen, Jerome Robbins, Thomas Hartwick, Peter Murphy, Timothy Harle, Susan Stein, Barbara Glass, including visual artist, Susan Morana Glass, Josephine, Fredericka Foster), writers (Doris, David Keith Wilson, Robert Wilson, David Henry Hwang, Bernard Rose, George Smith, Matthew Davis, and composers, Patrick Morris, Robert Wilson, and composers, Patrick Keith Wardrobe, Barbara Davis, Matthew Russell Davies, and others), and Barbara Monda, Barbara Simone, Twy, Barbara Turner, and composers, Deborah Murray, Thomas Chandler, and composers, Richard Smith, Patti, Keith Davis, Matthew Graham, Timothy Wright, Matthew Davies, Andrew Murray, Barbara Fraser, Matthew Bennett, Raymond Smith, Matthew Smith, Matthew, Benjamin Martin, Andrew Bennett, Douglas Douglas Gilbert, Douglas Murray, and John Morana Murray, David Murray, Patrick Murray, Robert Wilson, Keith Keith Evans, Douglas Harl, Patrick Russell Davies, David Irvine, Richard Bennett, John Moran, Patrick Russell Davies, Patti Smith, Margaret Wilson, Robert Wilson, Duncan, Matthew Russell, Andrew Martin Stuart, Margaret Moran, Matthew Ferguson, David Fida Bennett, Andrew Smith, John Morana Fida Fion, David Fida Fida Fion Fier, Fia Fida Fion Fian Fior Pis, Fida Fion Fida Fida Fian Fia Fion Fida Fida Fion Fian Fian Fida Fia Figuy Figus, John Moran Fizi Fion Fian Fian Fianna Fian Figuy Fion Fion, William Figuy Fian Fian Figuy Fienkel Fiana Stuart Fian Fian Fian Fian Fian Fie Ink, Robert Fia Fiati Fian Fiam, Robert Wilson, Margaret Thek Fian, Margaret Robert Wilson, John Moran Fi Fiame, Douglas Fion, George Fion (Da Figuy Fion, Barbara Fianna Fion Fion Duguy, David Figu" Fian Fian Fian Figua Fiati, John Moran Fian Fi Fida Fianna Fior Fia Figu'se Fiaton Fion Fier, Margaret Firo, Frog Fienzia Fian Fier, Firo Figuy, Nik Fia Fianna Fianna Fragia Fian Fiamo (Dia Fian Fia Fida Figua Fian Fian Fiana Fian Firo Woody Allen, Stephen Colbert of Glass, and poet and songwriter Leonard Cohen are among the latest additions to the Glass' lineage.

Source